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In the eight years since Damien Ric
In the eight years since Damien Rice released his second album, 9, a cottage industry of sensitive, Starbucks-approved indie singer-songwriters emerged and then exploded into the teen-pop mainstream with the arrival of Rice-acolyte Ed Sheeran, who graces this issue’s cover. You can almost imagine Rice hovering in the wings with a furrowed brow, sullenly wringing his hands, thinking, “Please, please, relieve me of this writer’s block.”
Rice has been spared. And the depth and scope of music on his third full-length studio album proves that however seductive the songs of his legion of followers are, Rice’s signature mix of acoustic guitars and strings, loops and layers, and achingly raw confessionals is inimitable. If 2006’s 9 was a slight letdown from Rice’s sublime 2003 debut, O, his more mature new album puts the singer and guitarist firmly back in the ring.
Bookended by a pair of hazy, atmospheric pieces—the title song and “Long Long Way”—and fleshed out with sparer songs featuring lots of crisp fingerpicking and swelling strings, the centerpiece of My Favourite Faded Fantasy is the one-two punch of “The Greatest Bastard” and “I Don’t Want to Change You.” The former, over gently picked guitar, is quintessential Rice, questioning a series of statements that are at once self-congratulatory and self-deprecating, and with a wisdom that only comes with age: “I made you laugh, I made you cry, I made you open up your eyes,” he sings, and then after a thoughtful pause, “Didn’t I?”
“I Don’t Want to Change You” combines everything that makes Rice tick: dramatic strings and unadorned acoustic guitar; subtle touches of electronics, keyboards, beats, and a warm heartbeat of a bass line; aching, soulful vocals; and lyrics that burn with the passion of a confused lover. “Wherever you go, I can always follow,” he rasps, as if he’s literally bleeding on the inside. The track is likely a love song to his former musical and romantic partner, Lisa Hannigan, whom he once claimed he still loves. “If you just want to be alone, I can wait without waiting,” he continues. “And if you want me to let this go, I am more than willing. Cause I don’t want to change you. . .I don’t want to change your mind.”
Yet somehow, you get the feeling Rice would like nothingmorethan to change her mind.
Other standouts among the album’s eight extended songs—only one clocks in at less than five minutes, and two exceed the eight-minute mark—are “Colour Me In” (about wanting to be pulled in) and “The Box” (about feeling tied down). Both are signature Rice songs that begin gently with just guitar before building to a crescendo of strings and wailed vocals. The exotic and sensual “It Takes a Lot to Know a Man” incorporates Middle Eastern-like touches, and “Trusty and True,” with its mix of simple British-folk balladry and a joyful African-like backing choir, adds a sense of spiritual release. As for the two bookends—Rice explores a rainbow of musical and cultural traditions on those tracks, including snaky melodies, classical flirtations, raging rock, and spacey, psychedelic textures.
Ed Sheeran may have taken Rice’s place in the singer’s absence, offering up a similar sense of drama and pathos for a larger and younger audience, but he was never a replacement. After all, it’s hard to imagine Rice venturing into the arena (so to speak) of big looped beats and rap. Rice’s work depends on nuance and dynamics, depth and scope. And after nearly a decade in the waiting, My Favourite Faded Fantasy delivers all of that in a set of scorching tracks of long-dormant anguish finally set free
- See more at: http://www.acousticguitar.com/News/ALBUM-REVIEW-Damien-Rice-My-Favourite-Faded-Fantasy#sthash.I36fJddg.dpuf
Rice has been spared. And the depth and scope of music on his third full-length studio album proves that however seductive the songs of his legion of followers are, Rice’s signature mix of acoustic guitars and strings, loops and layers, and achingly raw confessionals is inimitable. If 2006’s 9 was a slight letdown from Rice’s sublime 2003 debut, O, his more mature new album puts the singer and guitarist firmly back in the ring.
Bookended by a pair of hazy, atmospheric pieces—the title song and “Long Long Way”—and fleshed out with sparer songs featuring lots of crisp fingerpicking and swelling strings, the centerpiece of My Favourite Faded Fantasy is the one-two punch of “The Greatest Bastard” and “I Don’t Want to Change You.” The former, over gently picked guitar, is quintessential Rice, questioning a series of statements that are at once self-congratulatory and self-deprecating, and with a wisdom that only comes with age: “I made you laugh, I made you cry, I made you open up your eyes,” he sings, and then after a thoughtful pause, “Didn’t I?”
“I Don’t Want to Change You” combines everything that makes Rice tick: dramatic strings and unadorned acoustic guitar; subtle touches of electronics, keyboards, beats, and a warm heartbeat of a bass line; aching, soulful vocals; and lyrics that burn with the passion of a confused lover. “Wherever you go, I can always follow,” he rasps, as if he’s literally bleeding on the inside. The track is likely a love song to his former musical and romantic partner, Lisa Hannigan, whom he once claimed he still loves. “If you just want to be alone, I can wait without waiting,” he continues. “And if you want me to let this go, I am more than willing. Cause I don’t want to change you. . .I don’t want to change your mind.”
Yet somehow, you get the feeling Rice would like nothingmorethan to change her mind.
Other standouts among the album’s eight extended songs—only one clocks in at less than five minutes, and two exceed the eight-minute mark—are “Colour Me In” (about wanting to be pulled in) and “The Box” (about feeling tied down). Both are signature Rice songs that begin gently with just guitar before building to a crescendo of strings and wailed vocals. The exotic and sensual “It Takes a Lot to Know a Man” incorporates Middle Eastern-like touches, and “Trusty and True,” with its mix of simple British-folk balladry and a joyful African-like backing choir, adds a sense of spiritual release. As for the two bookends—Rice explores a rainbow of musical and cultural traditions on those tracks, including snaky melodies, classical flirtations, raging rock, and spacey, psychedelic textures.
Ed Sheeran may have taken Rice’s place in the singer’s absence, offering up a similar sense of drama and pathos for a larger and younger audience, but he was never a replacement. After all, it’s hard to imagine Rice venturing into the arena (so to speak) of big looped beats and rap. Rice’s work depends on nuance and dynamics, depth and scope. And after nearly a decade in the waiting, My Favourite Faded Fantasy delivers all of that in a set of scorching tracks of long-dormant anguish finally set free
- See more at: http://www.acousticguitar.com/News/ALBUM-REVIEW-Damien-Rice-My-Favourite-Faded-Fantasy#sthash.I36fJddg.dpuf
0/5000
Trong tám năm kể từ khi Damien Rice phát hành album thứ hai, 9, một ngành công nghiệp tiểu của nhạy cảm, chấp thuận Starbucks indie ca sĩ-nhạc sĩ nổi lên và sau đó phát nổ vào dòng chính teen-pop với sự xuất hiện của gạo-acolyte Ed Sheeran, người graces bao gồm vấn đề này. Bạn gần như có thể tưởng tượng gạo lơ lửng trên cánh với một furrowed trán, sullenly wringing tay của mình, suy nghĩ, "Xin vui lòng, xin vui lòng, làm giảm tôi của khối nhà văn này."Gạo đã được tha. Và chiều sâu và phạm vi của âm nhạc của ông thứ ba từ album phòng thu đầy đủ chứng minh rằng Tuy nhiên quyến rũ các bài hát của ông legion của những người theo là, kết hợp chữ ký của gạo của acoustic guitar và dây, vòng và lớp, và Anh achingly nguyên là không thể bắt chước. Nếu năm 2006 9 là một letdown nhẹ từ gạo của sublime 2003 đầu tay, O, album mới trưởng thành hơn đặt các ca sĩ, nghệ sĩ đàn ghita vững chắc trở lại trong vòng.Ôn bởi một cặp miếng mơ hồ, không khí-bài hát tiêu đề và "Chặng đường dài" — và fleshed ra với sparer bài hát hợp tác với nhiều sắc nét fingerpicking và sưng dây, các trung tâm của của tôi yêu thích phai mờ ảo là one-two punch của "The Bastard vĩ đại nhất" và "Tôi không muốn thay đổi bạn." Trước đây, qua nhẹ nhàng chọn guitar, là gạo tinh túy, đặt câu hỏi một loạt các báo cáo được cùng một lúc self-congratulatory và tự deprecating, và với một sự khôn ngoan mà chỉ đi kèm với tuổi: "tôi làm bạn cười, tôi làm bạn khóc, tôi làm bạn mở đôi mắt của bạn," ông hát, và sau đó sau khi một tạm dừng chu đáo, "phải không?""Tôi không muốn thay đổi bạn" kết hợp tất cả mọi thứ mà làm cho gạo đánh dấu: Ấn tượng dây và guitar acoustic nếu; tinh tế chạm của thiết bị điện tử, Bàn phím, nhịp đập, và một nhịp tim ấm áp của một dòng bass; đau, Soul hát; và lời bài hát đốt cháy với niềm đam mê của một người yêu lẫn lộn. "Bất cứ nơi nào bạn đi, tôi có thể luôn luôn làm theo," ông Dũa, như nếu ông nghĩa là chảy máu vào bên trong. Theo dõi có thể là một bài hát tình yêu của mình âm nhạc và lãng mạn đối tác cũ, Lisa Hannigan, người mà ông từng tuyên bố ông vẫn còn yêu thương. "Nếu bạn chỉ muốn được một mình, tôi có thể đợi mà không cần chờ đợi," ông tiếp tục. "Và nếu bạn muốn tôi để cho điều này đi, tôi là hơn sẵn sàng. Nguyên nhân tôi không muốn thay đổi các con...Tôi không muốn thay đổi tâm trí của bạn."Nhưng bằng cách nào đó, bạn có được cảm giác gạo muốn nothingmorethan để thay đổi tâm trí của mình.Standouts khác trong số các album của tám mở rộng bài hát-chỉ có một đồng hồ ít hơn năm phút, và hai vượt quá hiệu tám phút — là "Màu Me In" (về mong muốn được kéo) và "The Box" (về cảm giác gắn xuống). Cả hai đều là bài hát chữ ký gạo mà bắt đầu nhẹ nhàng với cây đàn guitar chỉ trước khi xây dựng một cao lần đầu của chuỗi và hát bè thét. Các kỳ lạ và gợi cảm "nó mất một nhiều để biết một người đàn ông" kết hợp trung đông như chạm, và "Đáng tin cậy và sự thật," với kết hợp của balladry Anh-dân gian đơn giản và một dàn đồng ca Phi-giống như ủng hộ vui tươi, cho biết thêm một cảm giác của tinh thần phát hành. Đối với hai bookends — gạo khám phá một cầu vồng của âm nhạc và văn hóa truyền thống trên những bài hát, bao gồm cả snaky giai điệu, flirtations cổ điển, hoành hành rock, và kết cấu spacey, psychedelic.Ed Sheeran có thể đã diễn ra của gạo trong sự vắng mặt của ca sĩ, cung cấp một cảm giác tương tự như của kịch và pathos cho một đối tượng lớn hơn và trẻ hơn, nhưng ông không bao giờ là một sự thay thế. Sau khi tất cả, thật khó để tưởng tượng gạo mạo hiểm vào đấu trường (như vậy để nói chuyện) của lớn looped nhịp đập và rap. Công việc của gạo phụ thuộc vào nuance và năng động, chiều sâu và phạm vi. Và sau khi gần một thập kỷ trong chờ đợi, My Favourite phai mờ tưởng tượng cung cấp tất cả mà trong một tập hợp các thiêu đốt các bài hát của nỗi đau đớn dài không hoạt động cuối cùng đặt miễn phí-Xem chi tiết tại: http://www.acousticguitar.com/News/ALBUM-REVIEW-Damien-Rice-My-Favourite-Faded-Fantasy#sthash.I36fJddg.dpuf
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In the eight years since Damien Rice released his second album, 9, a cottage industry of sensitive, Starbucks-approved indie singer-songwriters emerged and then exploded into the teen-pop mainstream with the arrival of Rice-acolyte Ed Sheeran, who graces this issue’s cover. You can almost imagine Rice hovering in the wings with a furrowed brow, sullenly wringing his hands, thinking, “Please, please, relieve me of this writer’s block.”
Rice has been spared. And the depth and scope of music on his third full-length studio album proves that however seductive the songs of his legion of followers are, Rice’s signature mix of acoustic guitars and strings, loops and layers, and achingly raw confessionals is inimitable. If 2006’s 9 was a slight letdown from Rice’s sublime 2003 debut, O, his more mature new album puts the singer and guitarist firmly back in the ring.
Bookended by a pair of hazy, atmospheric pieces—the title song and “Long Long Way”—and fleshed out with sparer songs featuring lots of crisp fingerpicking and swelling strings, the centerpiece of My Favourite Faded Fantasy is the one-two punch of “The Greatest Bastard” and “I Don’t Want to Change You.” The former, over gently picked guitar, is quintessential Rice, questioning a series of statements that are at once self-congratulatory and self-deprecating, and with a wisdom that only comes with age: “I made you laugh, I made you cry, I made you open up your eyes,” he sings, and then after a thoughtful pause, “Didn’t I?”
“I Don’t Want to Change You” combines everything that makes Rice tick: dramatic strings and unadorned acoustic guitar; subtle touches of electronics, keyboards, beats, and a warm heartbeat of a bass line; aching, soulful vocals; and lyrics that burn with the passion of a confused lover. “Wherever you go, I can always follow,” he rasps, as if he’s literally bleeding on the inside. The track is likely a love song to his former musical and romantic partner, Lisa Hannigan, whom he once claimed he still loves. “If you just want to be alone, I can wait without waiting,” he continues. “And if you want me to let this go, I am more than willing. Cause I don’t want to change you. . .I don’t want to change your mind.”
Yet somehow, you get the feeling Rice would like nothingmorethan to change her mind.
Other standouts among the album’s eight extended songs—only one clocks in at less than five minutes, and two exceed the eight-minute mark—are “Colour Me In” (about wanting to be pulled in) and “The Box” (about feeling tied down). Both are signature Rice songs that begin gently with just guitar before building to a crescendo of strings and wailed vocals. The exotic and sensual “It Takes a Lot to Know a Man” incorporates Middle Eastern-like touches, and “Trusty and True,” with its mix of simple British-folk balladry and a joyful African-like backing choir, adds a sense of spiritual release. As for the two bookends—Rice explores a rainbow of musical and cultural traditions on those tracks, including snaky melodies, classical flirtations, raging rock, and spacey, psychedelic textures.
Ed Sheeran may have taken Rice’s place in the singer’s absence, offering up a similar sense of drama and pathos for a larger and younger audience, but he was never a replacement. After all, it’s hard to imagine Rice venturing into the arena (so to speak) of big looped beats and rap. Rice’s work depends on nuance and dynamics, depth and scope. And after nearly a decade in the waiting, My Favourite Faded Fantasy delivers all of that in a set of scorching tracks of long-dormant anguish finally set free
- See more at: http://www.acousticguitar.com/News/ALBUM-REVIEW-Damien-Rice-My-Favourite-Faded-Fantasy#sthash.I36fJddg.dpuf
Rice has been spared. And the depth and scope of music on his third full-length studio album proves that however seductive the songs of his legion of followers are, Rice’s signature mix of acoustic guitars and strings, loops and layers, and achingly raw confessionals is inimitable. If 2006’s 9 was a slight letdown from Rice’s sublime 2003 debut, O, his more mature new album puts the singer and guitarist firmly back in the ring.
Bookended by a pair of hazy, atmospheric pieces—the title song and “Long Long Way”—and fleshed out with sparer songs featuring lots of crisp fingerpicking and swelling strings, the centerpiece of My Favourite Faded Fantasy is the one-two punch of “The Greatest Bastard” and “I Don’t Want to Change You.” The former, over gently picked guitar, is quintessential Rice, questioning a series of statements that are at once self-congratulatory and self-deprecating, and with a wisdom that only comes with age: “I made you laugh, I made you cry, I made you open up your eyes,” he sings, and then after a thoughtful pause, “Didn’t I?”
“I Don’t Want to Change You” combines everything that makes Rice tick: dramatic strings and unadorned acoustic guitar; subtle touches of electronics, keyboards, beats, and a warm heartbeat of a bass line; aching, soulful vocals; and lyrics that burn with the passion of a confused lover. “Wherever you go, I can always follow,” he rasps, as if he’s literally bleeding on the inside. The track is likely a love song to his former musical and romantic partner, Lisa Hannigan, whom he once claimed he still loves. “If you just want to be alone, I can wait without waiting,” he continues. “And if you want me to let this go, I am more than willing. Cause I don’t want to change you. . .I don’t want to change your mind.”
Yet somehow, you get the feeling Rice would like nothingmorethan to change her mind.
Other standouts among the album’s eight extended songs—only one clocks in at less than five minutes, and two exceed the eight-minute mark—are “Colour Me In” (about wanting to be pulled in) and “The Box” (about feeling tied down). Both are signature Rice songs that begin gently with just guitar before building to a crescendo of strings and wailed vocals. The exotic and sensual “It Takes a Lot to Know a Man” incorporates Middle Eastern-like touches, and “Trusty and True,” with its mix of simple British-folk balladry and a joyful African-like backing choir, adds a sense of spiritual release. As for the two bookends—Rice explores a rainbow of musical and cultural traditions on those tracks, including snaky melodies, classical flirtations, raging rock, and spacey, psychedelic textures.
Ed Sheeran may have taken Rice’s place in the singer’s absence, offering up a similar sense of drama and pathos for a larger and younger audience, but he was never a replacement. After all, it’s hard to imagine Rice venturing into the arena (so to speak) of big looped beats and rap. Rice’s work depends on nuance and dynamics, depth and scope. And after nearly a decade in the waiting, My Favourite Faded Fantasy delivers all of that in a set of scorching tracks of long-dormant anguish finally set free
- See more at: http://www.acousticguitar.com/News/ALBUM-REVIEW-Damien-Rice-My-Favourite-Faded-Fantasy#sthash.I36fJddg.dpuf
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